DOCSLIB.ORG

Bibliographie Des Œuvres De Graham Greene

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliographie Des Œuvres De Graham Greene BIBLIOGRAPHIE DES ŒUVRES DE GRAHAM GREENE Graham Greene dans les années trente. Contient les différentes éditions françaises des œuvres de Graham Greene, ainsi que leur édition originale anglaise ; les éditions francophones (Belgique, Suisse, Canada…) ne sont pas prises en compte. Contient aussi les travaux scénaristiques de Greene et ses livres pour enfants. Avertissement : les mentions d’indisponibilité des éditions recensées ne doivent pas rebuter le lecteur : celui-ci pourra toujours s’adresser aux bouquinistes, qui disposent d’un grand nombre d’éditions anciennes de l’œuvre de Greene. 1 A Ŕ ŒUVRES ORIGINALES 1) Babbling April (1925) poésie. - Edition originale : Londres, B. Blackwell, 1925. Non traduit en français et non réimprimé en Grande-Bretagne à la demande spéciale de Greene. 2) L’Homme et lui-même (The Man Within, 1929) roman. - Edition originale : Londres, William Heinemann, 1929. - Editions françaises : a) Plon, 1931 (traduction de Denyse Clairouin). Epuisé. b) Plon (nouvelle édition), 1962 (même traduction). Epuisé. c) Librairie Générale Française, Le Livre de Poche (n°1192), 1964 (même traduction). Epuisé. d) Presses de la Cité, « Presses Pocket » (n°2698), 1987 (traduction revue et corrigée). Epuisé. Ce roman a inspiré le film The Man Within (Les Pirates de la Manche) (1947) de Bernard Knowles (Royaume-Uni). Production : Muriel Box et Sydney Box. Scénario de Muriel Box et de Sydney Box. Avec Richard Attenborough (Francis Andrews), Michael Redgrave (Richard Carlyon), Joan Greenwood (Elizabeth), Jean Kent (Lucy), Francis L. Sullivan (Braddock), Ronald Shiner (« Harry le Cockney »), Basil Sydney (Sir Henry Merriman), Ernest Thesinger (Mr Farne), Felix Aylmer (le prêtre), Allan Jeayes (Sir Edward Parkin Ŕ le juge dans le film), Ralph Truman (l’homme de l’interrogatoire), David Horne (docteur Stanton), John Olson, Charles Rolfe, George Merritt, Maurice Denham, George Merritt, Lyn Evans, Torin Thatcher, Charles Rolfe, Herbert Lomas, Danny Green, Andrew Crawford et Allan McClelland. 3) The Name of Action (1930) roman. - Edition originale : Londres, William Heinemann, 1930. Non traduit en français et non réimprimé en Grande-Bretagne à la demande spéciale de Greene. 4) Rumour at Nightfall (1931) roman. - Edition originale : Londres, William Heinemann, 1931. Non traduit en français et non réimprimé en Grande-Bretagne à la demande spéciale de Greene. 5) Orient-Express (Stamboul Train, 1932) roman. - Edition originale : Londres, William Heinemann, 1932. - Editions françaises : a) Plon, 1935 (traduction de Denyse Clairouin). Epuisé. 2 b) Le Seuil, 1945 (même traduction). Epuisé. c) Librairie Générale Française, Le Livre de Poche (n°425), 1958 (même traduction). Réimpressions régulières jusqu’en 1976. Epuisé. d) Robert Laffont, « Graham Greene/Œuvres complètes », 1979 (même traduction). Epuisé. e) Robert Laffont, « Pavillons » (nouvelle édition), 1997 (même traduction). Epuisé. f) Union Générale d’Editeurs, « 10/18 » (n°3672), 2005 (même traduction). Epuisé. Ce roman a inspiré le film Orient Express (1934) de Paul Martin (Royaume-Uni). Musique d’Hugo Friedhofer. Avec Heather Angel (Coral Musker), Norman Foster (Carleton Myatt), Ralph Morgan (docteur Richard Czinner), Herbert Mundin (Peters), Una O’Connor (Mrs Peters), Irene Ware (Janet Pardoe), Dorothy Burgess (Mabel Warren), Lisa Gora (Anna), Roy D’Arcy (Josef Grunlich), Perry Ivins (major Petrovitch), Frederick Vogeding (colonel Hartep), Marc Loebell et William Irving (non crédité). Remake en 1962 (téléfilm) par Prudence Fitzgerald sous le titre Studio 4 : Stamboul Train (Royaume-Uni). Avec Richard Warner, Peter Birrel, Susan Burnet, Ivor Salter, Hana Maria Pravda, Anna Burden, Diane Aubrey, Dennis Edwards, Charles Lamb, Derek Partridge, Desmond Cullum-Jones, Paul Duval, Charles Delby, Otto Friese et Mary Chester. Remake en 1980 (téléfilm) par Gianfranco Mingozzi sous le titre Il Treno per Istanbul (Italie). Avec Stefano Satta Flores, Mimsy Farmer, William Berger, Alfredo Pea, Lea Padovani, Joszef Madaras, Mirella D’Angelo, John Stacy, Jill Pratt, Joszef Gyabronka, Sàndor Suka, Jànos Horkay, Istvan Sztankay, Gyulia Koszegi, Joszef Kautsky, Gabor Sàrosi, Istvàn Bujtor, Irén Bordàn, Attila Tyll, Donald Hodson et Aniko Sàfàr. Couverture d’Orient-Express au Livre de Couverture d’Orient-Express dans la Poche (édition de 1958, illustration anonyme, collection de poche 10/18 (édition de mais attribuée par certains spécialistes à Jean- 2005). Claude Forest). 3 6) C’est un champ de bataille (It’s a Battlefield, 1934) roman. - Edition originale : William Heinemann, 1934. - Editions françaises : a) Robert Laffont, « Pavillons », 1953 (traduction de Marcelle Sibon). Epuisé. b) Librairie Générale Française, Le Livre de Poche (n°3469), 1972 (même traduction). Epuisé. c) In Œuvres choisies : tome 2, couplé avec Les Naufragés, Rocher de Brighton et Un Américain bien tranquille, Robert Laffont, 1965 (même traduction). Disponible dans cette édition. d) Robert Laffont, « Graham Greene/Œuvres complètes », 1977 (même traduction). Disponible dans cette édition. e) Robert Laffont, « Pavillons » (nouvelle édition), 1977 (même traduction). Epuisé. 7) The Old School : Essays by Diverse Hands (1934) choix d’essais : anthologie d’essais sur les écoles anglaises, supervisée par Greene. Les textes sont signés Wystan Hugh Auden, Elizabeth Bowen, Graham Greene, Stephen Spender, Leslie Poles Hartley, Anthony Powell… - Edition originale : Londres, Jonathan Cape, 1934. Non traduit en français. 8) The Bear Fell Free (1935) novella. - Edition originale : Londres, Grayson, 1935 (tirage limité : 250 exemplaires). Non traduit en français. 9) Les Naufragés (England Made Me/The Shipwrecked, 1935) roman. - Edition originale : Londres, William Heinemann, 1935 (sous le titre England Made Me). - Editions françaises : a) Robert Laffont, « Pavillons », 1954, sous le titre Mère Angleterre (traduction de Marcelle Sibon). Epuisé. b) Robert Laffont, 1960, sous le titre Les Naufragés (traduction revue par Marcelle Sibon). Epuisé. c) In Œuvres choisies : tome 2, couplé avec C’est un champ de bataille, Rocher de Brighton et Un Américain bien tranquille, Robert Laffont, 1965 (même traduction). Disponible dans cette édition. d) Librairie Générale Française, Le Livre de Poche (n°764-765, puis 764 dans les réimpressions ultérieures), 1961 (même traduction). Réimpressions régulières jusqu’en 1996. Epuisé. e) Robert Laffont, « Graham Greene/Œuvres complètes », 1979 (même traduction). Disponible dans cette édition. 4 Ce roman a inspiré le film England Made Me (Le Financier) (1973) de Peter Duffell (Royaume-Uni). Avec Peter Finch (Erik Krogh), Michael York (Anthony Farrant), Hildegarde Neil (Kate Farrant), Michael Hordern (Minty), Joss Ackland (Fred Hall Ŕ Haller dans le film), Tessa Wyatt (Lou Davidge Ŕ Liz Davidge dans le film), Michael Sherd (Laurin Ŕ Fromm dans le film), Richard Gibson (Anthony jeune), Lalla Ward (Kate jeune), William Baskiville (le jeune Andersen Ŕ Stein dans le film), Demeter Bitenc, Vladan Zivkovic, Vlado Bacic, Mirjana Nicolic, Maja Papandopulo, Branislav Canak, Pat McCarron, Ljiljana Mrkic, Cvetka Cupar, Camila Torla, Alan Mittermier, Zdravko Stonajovic, Zika Vojcic, Ursic Vlada et Ranko Kovacevik. Couverture des Naufragés au Livre de Poche (édition de 1996, illustration de Paul Hogarth). 10) The Basement Room and Other Stories (1935) nouvelles : contient « The End of the Party » (« La Fête s’achève »/« La Fin du goûter »), « The Second Death », « Proof Positive », « I Spy », « A Day Saved », « Jubilee » (« Jubilé »), « Brother », « The Basement Room » (« Première désillusion »). - Edition originale : Londres, Cresset Press, 1935. - Edition française : les nouvelles « La Fête s’achève » et « Jubilé » ont été traduites dans le recueil Seize nouvelles (cf. A, 27) ; la nouvelle « Première désillusion » a été reprise avec Le Troisième homme (cf. A, 22, b). Le reste est inédit en français. La nouvelle « La Fête s’achève » a inspiré le court métrage The End of the Party (2006) de Sebastian Godwin (Royaume-Uni). Avec Florence Bell, Peter Foster, Tony Foster, Caroline Lintott et Chloe Pearce. 5 La nouvelle « Première désillusion » a inspiré le film The Fallen Idol (Première désillusion) (1948) de Carol Reed (Royaume-Uni). Production : Alexander Korda. Scénario de Graham Greene, d’après sa nouvelle. Avec Ralph Richardson (Baines), Michèle Morgan (Emmy Ŕ Julie dans le film), Bobby Henrey (Philip Lane), Sonia Dresdel (Mrs Baines), Denis O’Dea (l’agent Ŕ Crowe dans le film), Jack Hawkins (le sergent Ŕ Ames dans le film), Walter Fitzgerald (docteur Fenton Ŕ rôle ajouté), Dandy Nichols (Mrs Patterson Ŕ rôle ajouté), Joan Young (Mrs Barrow Ŕ rôle ajouté), Gerard Heinz (l’ambassadeur Ŕ rôle ajouté), Torin Thatcher, Karel Stepanek, James Hayter, Bernard Lee, John Ruddock, Hay Petrie, Dora Bryan, George Woodbridge, Ethel Coleridge (non créditée), Nora Gordon (non créditée), Ralph Norman (non crédité) et James Swan (non crédité). Remake en 1959 (téléfilm) par Silvio Narizzano sous le titre The DuPont Show of the Month: The Fallen Idol (Etats-Unis). Avec Jacques Hirschler, Jack Hawkins, Jessica Tandy, Dina Merrill, Barry Morse, Thayer David, Tim O'Connor, Myra Carter, James Valentine, Christopher Hewett, Anthony Kemble-Cooper, Peter von Zerneck, Curt Lowens et Brian Herbert. Projet de remake en cours. Affiche originale de Première désillusion, le film que Carol Reed tira en 1948 de la nouvelle de Graham Greene « The Fallen Idol ». Greene en écrivit d’ailleurs le scénario, et cette collaboration fructeuse avec Carol Reed
Load more

Recommended publications
  • 'Bishop Blougram's Apology', Lines 39~04. Quoted in a Sort of Life (Penguin Edn, 1974), P
    Notes 1. Robert Browning, 'Bishop Blougram's Apology', lines 39~04. Quoted in A Sort of Life (Penguin edn, 1974), p. 85. 2. Wqys of Escape (Penguin edn, 1982), p. 58. 3. Ibid., p. 167. 4. Walter Allen, in Contemporary Novelists, ed. James Vinson and D. L. Kirkpatrick (Macmillan, 1982), p. 276. 5. See 'the Virtue of Disloyalty' in The Portable Graham Greene, ed. Philip Stratford (Penguin edn, 1977), pp. 606-10. 6. See also Ways of Escape, p. 207. Many passages of this book first appeared in the Introductions to the Collected Edition. 7. A Sort of Life, p. 58. 8. Ways of Escape, p. 67. 9. A Sort of Life, pp. 11, 21. 10. Collected Essays (Penguin edn, 1970), p. 83. 11. Ibid., p. 108. 12. A Sort of Life, pp. 54-5. 13. Ibid., p. 54n. 14. Ibid., p. 57. 15. Collected Essays, pp. 319-20. 16. Ibid., p. 13. 17. Ibid., p. 169. 18. Ibid., p. 343. 19. Ibid., p. 345. 20. Philip Stratford, 'Unlocking the Potting Shed', KeT!Jon Review, 24 (Winter 1962), 129-43, questions this story and other 'confessions'. Julian Symons, 'The Strength of Uncertainty', TLS, 8 October 1982, p. 1089, is also sceptical. 21. A Sort of Life, p. 80. 22. Ibid., p. 140. 23. Ibid., p. 145. 24. Ibid., p. 144. 25. Ibid., p. 156. 26. W. H. Auden, 'In Memory ofW. B. Yeats', 1940, line 72. 27. The Lawless Roads (Penguin edn, 1971), p. 37 28. Ibid., p. 40. 29. Ways of Escape, p. 175. 137 138 Notes 30. Ibid., p.
    [Show full text]
  • Norman Macleod
    Norman Macleod "This strange, rather sad story": The Reflexive Design of Graham Greene's The Third Man. The circumstances surrounding the genesis and composition of Gra­ ham Greene's The Third Man ( 1950) have recently been recalled by Judy Adamson and Philip Stratford, in an essay1 largely devoted to characterizing some quite unwarranted editorial emendations which differentiate the earliest American editions from British (and other textually sound) versions of The Third Man. It turns out that these are changes which had the effect of giving the American reader a text which (for whatever reasons, possibly political) presented the Ameri­ can and Russian occupation forces in Vienna, and the central charac­ ter of Harry Lime, and his dishonourable deeds and connections, in a blander, softer light than Greene could ever have intended; indeed, according to Adamson and Stratford, Greene did not "know of the extensive changes made to his story in the American book and now claims to be 'horrified' by them"2 • Such obscurely purposeful editorial meddlings are perhaps the kind of thing that the textual and creative history of The Third Man could have led us to expect: they can be placed alongside other more official changes (usually introduced with Greene's approval and frequently of his own doing) which befell the original tale in its transposition from idea-resuscitated-from-old­ notebook to story to treatment to script to finished film. Adamson and Stratford show that these approved and 'official' changes involved revisions both of dramatis personae and of plot, and that they were often introduced for good artistic or practical reasons.
    [Show full text]
  • Visual Theologies in Graham Greene's 'Dark and Magical Heart
    Visual Theologies in Graham Greene’s ‘Dark and Magical Heart of Faith’ by Dorcas Wangui MA (Lancaster) BA (Lancaster) Submitted for the Degree of Doctor of Philosophy September 2017 Wangui 1 Abstract Visual Theologies in Graham Greene’s ‘Dark and Magical Heart of Faith’ This study explores the ways in which Catholic images, statues, and icons haunt the fictional, spiritual wasteland of Greene’s writing, nicknamed ‘Greeneland’. It is also prompted by a real space, discovered by Greene during his 1938 trip to Mexico, which was subsequently fictionalised in The Power and the Glory (1940), and which he described as ‘a short cut to the dark and magical heart of faith’. This is a space in which modern notions of disenchantment meets a primal need for magic – or the miraculous – and where the presentation of concepts like ‘salvation’ are defamiliarised as savage processes that test humanity. This brutal nature of faith is reflected in the pagan aesthetics of Greeneland which focus on the macabre and heretical images of Christianity and how for Greene, these images magically transform the darkness of doubt into desperate redemption. As an amateur spy, playwright and screen writer Greene’s visual imagination was a strength to his work and this study will focus on how the visuality of Greene’s faith remains in dialogue with debates concerning the ‘liquidation of religion’ in society, as presented by Graham Ward. The thesis places Greene’s work in dialogue with other Catholic novelists and filmmakers, particularly in relation to their own visual-religious aesthetics, such as Martin Scorsese and David Lodge.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]
  • 2014 BAFTA TV Awards Full List of Nominations
    NOMINATIONS IN 2014 LEADING ACTOR JAMIE DORNAN The Fall – BBC Two SEAN HARRIS Southcliffe – Channel 4 LUKE NEWBERRY In The Flesh – BBC Three DOMINIC WEST Burton and Taylor – BBC Four LEADING ACTRESS HELENA BONHAM CARTER Burton and Taylor – BBC Four OLIVIA COLMAN Broadchurch - ITV KERRIE HAYES The Mill – Channel 4 MAXINE PEAKE The Village – BBC One SUPPORTING ACTOR DAVID BRADLEY Broadchurch – ITV JEROME FLYNN Ripper Street – BBC One NICO MIRALLEGRO The Village – BBC One RORY KINNEAR Southcliffe – Channel 4 SUPPORTING ACTRESS SHIRLEY HENDERSON Southcliffe – Channel 4 SARAH LANCASHIRE Last Tango in Halifax – BBC One CLAIRE RUSHBROOK My Mad Fat Diary – E4 NICOLA WALKER Last Tango in Halifax – BBC One ENTERTAINMENT PERFORMANCE ANT AND DEC Ant and Dec’s Saturday Night Takeaway – ITV CHARLIE BROOKER 10 O’Clock Live – Channel 4 SARAH MILLICAN The Sarah Millican Television Programme – BBC Two GRAHAM NORTON The Graham Norton Show – BBC One FEMALE PERFORMANCE IN A COMEDY PROGRAMME FRANCES DE LA TOUR Vicious – ITV KERRY HOWARD Him & Her: The Wedding – BBC Three DOON MACKICHAN Plebs – ITV2 KATHERINE PARKINSON The IT Crowd – Channel 4 MALE PERFORMANCE IN A COMEDY PROGRAMME RICHARD AYOADE The IT Crowd – Channel 4 MATHEW BAYNTON The Wrong Mans – BBC Two JAMES CORDEN The Wrong Mans – BBC Two CHRIS O’DOWD The IT Crowd – Channel 4 Arqiva British Academy Television Awards – Nominations Page 1 SINGLE DRAMA AN ADVENTURE IN SPACE AND TIME Mark Gatiss, Matt Strevens, Terry McDonough, Caroline Skinner – BBC Wales/BBC America/BBC Two BLACK MIRROR: BE RIGHT BACK
    [Show full text]
  • Simon Tindall Director of Photography
    Simon Tindall Director of Photography Agents Alice Dunne Assistant +44 (0) 20 3214 0949 Flora Line [email protected] Daniela Manunza Assistant [email protected] Lizzie Quinn [email protected] + 44 (0) 203 214 0911 Credits Film Production Company Notes DIRECTOR OF PHOTOGRAPHY RUN BBC Films Dir: Scott Graham Prod: Margaret Matheson, Rosie Crerar, Ciara Barry THE SHOW BFI/Emu Films Dir: Mitch Jenkins Prod: Mike Elliot and Jim Mooney (with Roger Ashton-Griffiths, Alan Moore and Siobhan Hewlett) DAYS OF THE BAGNOLD Stigma Films Dir: Simon Bird SUMMER Prod: Matthew James Wilkinson (with Tamsin Greig and Rob Brydon) United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes FISHERMAN'S FRIENDS Fred Films/ Blue Penguin Dir: Chris Foggin Prod: Meg Leonard, Nick Moorcroft and James Spring (with Tuppence Middleton, James Purefoy, Noel Clarke and Daniel Mays) WE DON'T TALK ABOUT BFI/BBC Films/Creative Scotland Dir: Scot Graham LOVE Prod: Margaret Matheson (with Mark Stanley, Amy Manson and Anders Hayward) THE FESTIVAL Fudge Park/Film 4 Dir: Iain Morris Prod: Claire Jones (with Joe Thomas, Hannah Tointon and Jemaine Clement) THE GOOB BBC Films Dir: Guy Myhill Prods: Lee Groombridge, Mike Elliot (with Sienna Guillory, Sean Harris & Hannah Spearritt) NORTHERN SOUL Stubborn Heart Films Dir: Elaine Constantine Prod: Debbie Grey (with Steve Coogan, Antonia Thomas & Christian McKay) EVERYDAY Revolution Films Co-DP Dir: Michael Winterbottom
    [Show full text]
  • Reminder List of Productions Eligible for the 88Th Academy Awards
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 88TH ACADEMY AWARDS ADULT BEGINNERS Actors: Nick Kroll. Bobby Cannavale. Matthew Paddock. Caleb Paddock. Joel McHale. Jason Mantzoukas. Mike Birbiglia. Bobby Moynihan. Actresses: Rose Byrne. Jane Krakowski. AFTER WORDS Actors: Óscar Jaenada. Actresses: Marcia Gay Harden. Jenna Ortega. THE AGE OF ADALINE Actors: Michiel Huisman. Harrison Ford. Actresses: Blake Lively. Kathy Baker. Ellen Burstyn. ALLELUIA Actors: Laurent Lucas. Actresses: Lola Dueñas. ALOFT Actors: Cillian Murphy. Zen McGrath. Winta McGrath. Peter McRobbie. Ian Tracey. William Shimell. Andy Murray. Actresses: Jennifer Connelly. Mélanie Laurent. Oona Chaplin. ALOHA Actors: Bradley Cooper. Bill Murray. John Krasinski. Danny McBride. Alec Baldwin. Bill Camp. Actresses: Emma Stone. Rachel McAdams. ALTERED MINDS Actors: Judd Hirsch. Ryan O'Nan. C. S. Lee. Joseph Lyle Taylor. Actresses: Caroline Lagerfelt. Jaime Ray Newman. ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Actors: Jason Lee. Tony Hale. Josh Green. Flula Borg. Eddie Steeples. Justin Long. Matthew Gray Gubler. Jesse McCartney. José D. Xuconoxtli, Jr.. Actresses: Kimberly Williams-Paisley. Bella Thorne. Uzo Aduba. Retta. Kaley Cuoco. Anna Faris. Christina Applegate. Jennifer Coolidge. Jesica Ahlberg. Denitra Isler. 88th Academy Awards Page 1 of 32 AMERICAN ULTRA Actors: Jesse Eisenberg. Topher Grace. Walton Goggins. John Leguizamo. Bill Pullman. Tony Hale. Actresses: Kristen Stewart. Connie Britton. AMY ANOMALISA Actors: Tom Noonan. David Thewlis. Actresses: Jennifer Jason Leigh. ANT-MAN Actors: Paul Rudd. Corey Stoll. Bobby Cannavale. Michael Peña. Tip "T.I." Harris. Anthony Mackie. Wood Harris. David Dastmalchian. Martin Donovan. Michael Douglas. Actresses: Evangeline Lilly. Judy Greer. Abby Ryder Fortson. Hayley Atwell. ARDOR Actors: Gael García Bernal. Claudio Tolcachir.
    [Show full text]
  • Sophie's World
    Sophie’s World Jostien Gaarder Reviews: More praise for the international bestseller that has become “Europe’s oddball literary sensation of the decade” (New York Newsday) “A page-turner.” —Entertainment Weekly “First, think of a beginner’s guide to philosophy, written by a schoolteacher ... Next, imagine a fantasy novel— something like a modern-day version of Through the Looking Glass. Meld these disparate genres, and what do you get? Well, what you get is an improbable international bestseller ... a runaway hit... [a] tour deforce.” —Time “Compelling.” —Los Angeles Times “Its depth of learning, its intelligence and its totally original conception give it enormous magnetic appeal ... To be fully human, and to feel our continuity with 3,000 years of philosophical inquiry, we need to put ourselves in Sophie’s world.” —Boston Sunday Globe “Involving and often humorous.” —USA Today “In the adroit hands of Jostein Gaarder, the whole sweep of three millennia of Western philosophy is rendered as lively as a gossip column ... Literary sorcery of the first rank.” —Fort Worth Star-Telegram “A comprehensive history of Western philosophy as recounted to a 14-year-old Norwegian schoolgirl... The book will serve as a first-rate introduction to anyone who never took an introductory philosophy course, and as a pleasant refresher for those who have and have forgotten most of it... [Sophie’s mother] is a marvelous comic foil.” —Newsweek “Terrifically entertaining and imaginative ... I’ll read Sophie’s World again.” — Daily Mail “What is admirable in the novel is the utter unpretentious-ness of the philosophical lessons, the plain and workmanlike prose which manages to deliver Western philosophy in accounts that are crystal clear.
    [Show full text]
  • Downloads Onto Iphones Or As Print-On-Demand Books
    NorthwordsIssue 15 NowSummer 2010 The Lives of Others GERRY CAMBRIDGE Looks at Animals ALAN BISSETT on The Ullapool Book Festival New poems and stories from GRAHAM FULTON, JOHN JENNETT, DONALD S MURRAY, KERRY HARDIE, LORNA BRUCE and many more. In the Reviews Section: Poetry Pamphlet Heaven! The FREE literary magazine of the North Extract by kind permission of the Oxfort Dictionary and Cormack’s & Crawford’s, Dingwall and Ullapool. Victor Frankenstein used electricity to animate his monster. William McGonagall was struck by lightning while walking from Dundee to Braemar. William Falkner wrote ‘As I lay Dying’ while working at a power plant. The Next Great Author clicks the ‘Save’ button. Electricity drifts through the circuits. Electricity: from the frog-twitchings of galvanism to modern domesticated electrons. For electricity under control, contact: Greensparks Electrical, environmental and general services. Inverfarigaig, Loch Ness 01456 486291 Boswell, being angry at her, threw the mutton chops out of the window. I ventured outside to see what Forres might offer a traveller. The main street was broad and fair though the brats on the street were impertinent. However they left off their games when we came upon a market, whereat they called out ‘Babalu, babalu!’ and ran among the crowd. I had not encountered this word before. A courteous woman explained it thus: somewhere in this place there is an object which you will desire, though you know not what it may be. A curious word, yet cogent. I am resolved to enter it into my Dictionary. BABALU Full of things you will want. 65 High Street, Forres A Quinquereme is making for Inverness, carrying sandalwood and trinkets from Nineveh.
    [Show full text]
  • Simply-Hitchcock-1587911892. Print
    Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind.
    [Show full text]
  • 1966-Pages.Pdf
    THE GENERAL On Thursday night and Friday morning the BBC both in Television and Radio will be giving you the fastest possible service of Election Results. Here David Butler, one of the expert commentators on tv, explains the background to the broadcasts TELEVISION A Guide for Election Night AND RADIO 1: Terms the commentators use 2: The swing and what it means COVERAGE THERE are 630 constituencies in the United Kingdom in votes and more than 1,600 candidates. The number of seats won by a major is fairly BBC-1 will its one- party begin compre- DEPOSIT Any candidate who fails to secure exactly related to the proportion of the vote which hensive service of results on eighth (12.5%), of the valid votes in his constituency it wins. If the number of seats won by Liberals and soon after of L150. Thursday evening forfeits to the Exchequer a deposit minor parties does not change substantially the close. the polls STRAIGHT FIGHT This term is used when only following table should give a fair guide of how the At the centre of operations two candidates are standing in a constituency. 1966 Parliament will differ from the 1964 Parlia- in the Election studio at ment. (In 1964 Labour won 44.1% of vote and huge MARGINAL SEATS There is no precise definition the TV Centre in London will be 317 seats; Conservatives won 43.4 % of the vote and of a marginal seat. It is a seat where there was a Cliff Michelmore keeping you 304 seats; Liberals 11.2% of the vote and nine seats small majority at the last election or a seat that in touch with all that is �a Labour majority over all of going is to change hands.
    [Show full text]
  • 4 Modern Shakespeare Festivals
    UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO Festival Shakespeare: Celebrating the Plays on the Stage Festival Shakespeare: Celebrando las Obras en la Escena Dª Isabel Guerrero Llorente 2017 Page intentionally left blank. 2 Agradecimientos / Acknoledgements / Remerciments Estas páginas han sido escritas en lugares muy diversos: la sala becarios en la Universidad de Murcia, la British Library de Londres, el centro de investigación IRLC en Montpellier, los archivos de la National Library of Scotland, la Maison Jean Vilar de Aviñón, la biblioteca del Graduate Center de la City University of New York –justo al pie del Empire State–, mi habitación en Torre Pacheco en casa de mis padres, habitaciones que compartí con Luis en Madrid, Londres y Murcia, trenes con destinos varios, hoteles en Canadá, cafeterías en Harlem, algún retazo corregido en un avión y salas de espera. Ellas son la causa y el fruto de múltiples idas y venidas durante cuatro años, ayudándome a aunar las que son mis tres grandes pasiones: viajar, el estudio y el teatro.1 Si bien los lugares han sido esenciales para definir lo que aquí se recoge, aún más primordial han sido mis compañeros en este viaje, a los que hoy, por fin, toca darles las gracias. Mis primeras gracias son para mi directora de tesis, Clara Calvo. Gracias, Clara, por la confianza depositada en mí estos años. Gracias por propulsar tantos viajes intelectuales. Gracias también a Ángel-Luis Pujante y Vicente Cervera, quienes leyeron una versión preliminar de algunos capítulos y cuyos consejos han sido fundamentales para su mejora. Juanfra Cerdá fue uno de los primeros lectores de la propuesta primigenia y consejero excepcional en todo este proceso.
    [Show full text]